In Part 1 on this topic, I went over the questions you should ask of yourself when considering a juried exhibition. Now, let’s look for answers that might be beyond your control, but for which you need answers.

Rayann Orr, Plaza at Las Golondrinas. Mixed media, 22 x 30 inches.

Ask Others

• What is the reputation of the exhibit organizers? Do they have a good track record and have they generated publicity for past events? How many people (potential buyers) are on their mailing list?
• How will the exhibit be promoted? Will it be advertised? Is there the possibility of social media buzz through Facebook, Twitter, and blogs? Will press releases be issued or will the event be pitched to the press in a strategic manner? How do the organizers use email to promote their events?
• Can the organizers show you press clippings that have been generated from this exhibit in the past?
• Will a catalogue or brochure document the show?
• Will there be an opening or closing reception? What other events might bring people in?
• Are prices posted next to the artwork or available at a desk? Note that an accredited museum should not post prices, but most art centers and other gallery spaces have prices in clear sight. (Just because prices aren’t posted doesn’t mean it isn’t worth your effort. The prestige of showing at a certain location may be more valuable at a certain point in your career.)
• Is there someone on site to facilitate sales? Are there trained sales people? Would it be easy for a potential buyer to purchase something?
• How much money has come from sales in the past (from this or comparable exhibitions)? What is the percentage of accepted entries (a high number isn’t always good!).
• Is there adequate security? Are the works insured while on site? Who will pack/unpack the artwork? Is the personnel trained to handle art?
• Who is the juror or curator? Are there awards and prize money? What is the attendance for this exhibit? What are the attendance figures for the venue in general?

I realize you may not be able to get answers to all of these questions and, indeed, you might be considered an irritant if you ask every one of them. Pick the questions that you are most concerned about and ask away!

Overheard on Twitter:

When does personal style turn to gimmick?

With nods to @anniesalness @Art_News @aakschipper

How do you know when a juried exhibition opportunity is too good to pass up or is something that you should let pass you by?

You have to ask a lot of questions without allowing yourself to be intimidated by the person presenting the opportunity. Empower yourself by finding answers.

Hanna Phelps, Digging to Australia. Oil on board, 6 x 8 inches. ©The Artist

Ask yourself

• What do I expect to gain from being accepted into this exhibit? Note that your answer isn’t necessarily monetary. It might be as simple as “experience.” Or it could be that you want to be noticed by a particular juror.
• What is the best possible outcome? What is acceptable? And what is the worst possible outcome? Which one is easiest to live with and will it get me closer to my goals?
• Is there a “hole” in my résumé that might be filled by this exhibit? A “hole” might be a venue, an organization, or a geographical area—such as showing in another city, state or region?
• Do I have the work needed to enter this exhibit or will it be tied up with other commitments? If you need to create work especially for this exhibit, is that what you should be doing right now? Or should your efforts be focused elsewhere?
• Does my work fit in with the curator’s or juror’s aesthetic or guidelines for the show?Most curators and jurors have far-reaching aesthetics when it comes to juried shows. They are more inclusive than they would be if they selected an exhibit from scratch. You can’t always tell what they’ll choose for a juried exhibit, but you can ask yourself if this is someone you’d like to put your art in front of. In other words: Do you respect their opinions?
  
• How much of my time will it take to enter? How much of my time will it take if my work is accepted?
• What are the fees? Can I afford the entry fee as well as the framing, crating, shipping, and travel? Is it within my budget?
• Have I outgrown this exhibit? Am I better established than most of the others who will enter?
• Would my time and money be better spent if devoted to another opportunity, even if I have to make up such an opportunity?

In Part 2 I’ll give you some questions that you can ask of others when contemplating your participation in a juried exhibit.

Now that you’ve read and followed the tips in last week’s newsletter, you have this great artist statement. It’s time to post it on your website. You not only have your statement for your printed portfolio, but it is equally valuable to your online marketing efforts.

Here’s the big question: Is your statement on the RIGHT page on your site? Is it strategically placed next to the art? Or is it on a page entitled “Statement” by itself?

Karen Hubacher, Playground 3. Wire sculpture, 10 x 20 x 16 inches. ©The Artist

I’m not crazy about artist statement links in the main navigation menu of a website because most people have no idea what a statement is or why they would want to click on a link titled “Statement.”

The best place for your statement is next to the artwork that it relates to.

Remember that the essential criterion for a successful artist statement is that it makes people want to look at the work. It gives them clues about what to look for in your art, so you do your visitors a disservice if there’s no art next to your statement.

If you already have a Statement link in your navigation bar, don’t fret. Keep it active, but make it more relevant by adding artwork to your Statement page–if it’s not already there. Artwork should be on every page of your website. You want to exploit all opportunities to keep your images in front of people.

FINAL WORD:  When strategically placed next to your art, your successful artist statement illuminates your work and ideas–helping people make a closer connection.

Get help with your statement with The Relatively Pain-Free Artist Statement e-book journaling program.

PODCAST

The podcast is an audio version of this content.

Is there such a thing as a fine art representative or agent (not gallerist) that can do all the work for you?

How are they paid?

How do you find them?

I’m not comfortable giving criticism on the record. I tend to be short (harsh) with my words and sometimes struggle to make them sound diplomatic.

When I was a member of Toastmasters I was called upon to evaluate speakers in a formal manner–standing at the front of the room and giving my evaluation orally. At first, I despised this job. But I grew more comfortable in the role because it made me a better thinker, listener, and all-around observer. It also forced me to work on the language I use.

Artists, too, are called upon to critique one another in both formal and informal situations. When faced with this, try the Oreo® Approach, which I learned about in Toastmasters.

Kathleen Nathan, Silver Dress. Photograph. ©The Artist

As you know, the Oreo® is a cookie with two chocolate wafers on the outside and light, creamy filling on the inside. When you’re critiquing someone’s art or marketing materials, think of the chocolate wafers (the parts that hold the whole together) as praise. The fluffy stuff in the center is where you can offer room for improvement.

For example . . . your critique might go like this highly abbreviated version.

Chocolate wafer (praise): Julia, I really like your use of complementary colors in the composition. They make the image “pop.”

Fluffy stuff (room for improvement): I’m wondering, though, if it might be better without that tree on the left. Or perhaps toning down the green would allow me to focus better on the center. You might also consider changing the mat color. I think white would be a better choice in this instance. The red, for me, detracts from the collage itself.

End with another chocolate wafer (praise): Boy, your craftsmanship is terrific! I’d love to hear about the adhesive you’re using.

This isn’t a magic pill for giving constructive criticism. I struggle with diplomacy every time I work on an artist’s statement, review marketing material at a workshop, or help a client reword an email newsletter.

What are your experiences with giving or receiving criticism? What can you share with other artists in these situations?

When is the last time you took a long look at your artist statement? Did you close the file months ago thinking you were done with it? Think again.

Your statement has the potential to be one of your strongest promotional tools. A well-written statement empowers you. The process of writing or perfecting your statement is a chance to clarify your thoughts. It helps you define your art before someone else does that for you. Here are five tips for honing your statement.

Ranit Elkrief, Twins. Acrylic on paper, 45 x 35 centimeters. ©2003 The Artist

1. Whittle down your statement to a maximum of two paragraphs–knowing that our attention spans are much shorter these days.

2. Your statement should reflect your current direction, particularly what is unique about the methods and materials you use to create your art work. Do not include anything about your influences or past lives in your statement. Just talk about where you’re going and what you want viewers to take away. You want readers to focus on the future and where you’re headed, not the long story about how you got to where you are.

3. Allow time between your draft and editing of the draft. It is a good idea to step away from your writing for a few hours to see it with fresh eyes. It’s too easy to get bogged down in the language and miss the message.

4. In the editing process, look to eliminate redundancy as well as descriptions and sentences that could be applied to any ole artist’s work. You’re seeking the right words that describe with your artistic contribution.

5. Above all, your statement should compel readers to look at your art. If it doesn’t do that, it hasn’t done its job. Your statement has failed if people read the words you’ve written, and then they go on to the next artist without being intrigued enough to take another look at your work.

FINAL WORD: Your statement should be organic. Allow it to grow and change. You wouldn’t allow your artwork to stagnate, would you? Likewise, using old words to describe new ideas doesn’t make sense. Get that statement out and start honing it.

For a better statement, follow the journaling process outlined in The Relatively Pain-Free Artist Statement.

PODCAST

The podcast is an audio version of this content.

It’s a rundown of my most fascinating (ahem) tweets of the past two weeks. Truly, I only pick the best for you.

RT @futureofmuseums: Top 20 most powerless people in the art world http://bit.ly/1G77FV via @artfulmanager

Amazing how many ugly art sites there are out there. Don’t let yours be one of them! Website checkup

Am Craft Council is moving from NYC to Minneapolis. Sign of the times? http://bit.ly/3hRoyz

SF Chronicle plans new arts section when other papers cutting back on arts. YES! http://bit.ly/2ws9Zq via @lauraloveslux @AudienceDevSpec

“Do what needs to be done, and check to see if it was impossible only after you are done.”–Paul Hawken

Artists: Add your portfolio to your iPhone & iPod Touch. Studio Art Direct blog http://bit.ly/mSfdP

RT @problogger: New at ProBlogger: 14 Types of Stories You Can Tell On Your Blog http://bit.ly/3SslVa

Please give people a chance to explain or help before you accuse or threaten. Email can sound so nasty! Most people are good.

RT @clintavo via FASO client: “A gentleman I didn’t previously know bought $23,000 worth of art from my website…sight unseen.”

Don’t call your own artwork or own event “exciting.” Be more creative (and less superlative) than that.

Trying out http://evernote.com to clip and save stuff. Looks pretty neat!

“Then I’ll do it myself,” said the Little Red Hen, and she did.

John T. Unger is an artist based in Michigan who uses scrap metal or his creations. He is perhaps best known for his Great Bowls of Fire: sculptures that double as firepits.

Yesterday, John was my guest on a call on which he gave us insight into a copyright lawsuit that has been brought against him and how it might affect other artists. You can listen to that 30-minute call here.

John T. Unger, Waves O' Fire. Recycled steel. Design ©2007-09 John T. Unger.

Neither John nor I are attorneys, so this recording shouldn’t be construed as legal advice. You should always consult an attorney for your individual situation.

MENTIONED ON THE RECORDING

1. John’s legal defense fund page outlines the case. You can read the document filed against him, which he could not discuss on the call.

2. Myows is a copyright management application set to launch November 9.

3. DefendArt.org is a holding spot for a future legal defense fund or foundation for all artists. It’s John’s way of paying it forward so that other artists will have the help he couldn’t find.

4. You can help John by buying his art or just giving an outright donation. Read more.

Please tweet this and pass it on to other artists. It’s too important to ignore and think it will never happen to you.

Here are two scenarios for you. Let’s tackle both (notice the plural in today’s post title).

Pam Spika Nicholson, Momentum. Acrylic and mixed media on canvas. ©The Artist

Scenario 1

I have paintings in a gallery but I also do summer outdoor art festivals.

Do I pay the gallery owner the 50/50 commission on the custom painting even though the client never set foot in the gallery?

Scenario 2

I have paintings in a gallery but I also do summer outdoor art festivals.

Do I pay the gallery owner the 50/50 commission on the custom painting even though it was never in their gallery and was decided upon at an outdoor festival?  Do I still owe them since the client saw my work at their gallery first?